Recorded between 1969 and 1972 (with one track featuring Robert Wyatt and Kevin Ayers...). "In addition to being a masterpiece of the acousmatic repertoire, LExpérience Acoustique is also a fine example of the musical research spirit. This work, a systematic exploration, investigates the true nature of the listening process itself. The composition of this piece, spread over several years, managed to tap into the potential of the analogue technologies of its time, producing a complex blend of unprecedented sonic occurrences. What emerges from this extensive work is a reflection on sound, in all its forms and through all its textures. François Bayle therefore invites us to a genuine listening experience and for the first time on vinyl, in its full version lasting more than two hours." - Christian Zanési and François Bonnet.

"In the field of biology Heterozygous (Hétérozygote) means: a plant whose heredity is mixed. It implies that Hétérozygote, composed between December 1963 and March 1964, is an attempt to engineer a language located both on the musical and on the dramatic plane. You could call this music "Anecdotal Music" for if the organization of events is purely musical, their choice suggests situations justified at two levels: the music and the anecdote. Luc Ferrari explains the piece Petite Symphonie Intuitive Pour Un Paysage De Printemps (1973-1974) in 2002: "This electroacoustic music is part of a series that could be called imaginary soundscape. Unlike Presque Rien Ou Le Lever Du Jour Au Bord De La Mer (Almost Nothing Or Daybreak By The Seaside), where the landscape narrates itself, here a traveller discovers a landscape which he tries to convey as a musical landscape. Brunhild and I were in the Gorges du Tarn area. We chose to take a small path that was going up a rocky mountain for about ten kilometres. After a last turn, a totally unexpected landscape opened before my eyes. It was sunset. Before us, a vast plateau spread open with soft curves up to the horizon, up to the sun. The colours ranged from dry grass yellow to purple, in the distance, with the darkness of a few small groves punctuating the space. The almost bare nature was presenting itself to the eye, free from any obstacle. We could see everything. Later, when I recollected this place and the sensations I had experienced there, I tried to compose a music that could revive this memory. The Causse Méjean is a high plateau, about 1000 m high, in the Massif Central mountain range. It is dotted by scattered farms. A few people bring their flocks of sheep home. I thought about evoking this solitary and hazy human presence by including snippets of conversations I had had with some of the shepherds. Human language is woven into the musical texture; the sound of the voice says more than its actually meaning. Once, a shepherd told me ... I am never bored. I listen to the landscape. Sometimes I play my flute and then I listen to the echo responding... Thinking of him, I used the flute and its echo in my music." - Recollection GRM.

"Recollection GRM presents four musique concrète masterpieces by French electro-acoustic innovator Luc Ferrari -- all of the Presque Riens collected together in one vinyl set for the first time. Presque rien n°1, le lever du jour au bord de la mer (1967-1970): "Following the complete disappearance of abstract sounds, we can regard this piece as a sonic snapshot and the culmination of an evolution. This is a realistic rendering (as faithful as possible) of a fishing village waking up. The first idea of minimalism." Presque rien n°2, ainsi continue la nuit dans ma tête multiple (1977): "Description of a landscape at night that a soundman attempts to define through microphones, but the night surprises the hunter and creeps inside his head. It then becomes a double description: the inner landscape transforms the outer night and by composing it, adds its own reality (a fantasy of reality) or, perhaps, a psychoanalysis of his nightscape..." Presque rien avec filles (1989): "Within paradoxical landscapes, a photographer/composer is hidden while girls are having a sort of picnic on the grass. Without being aware of it, they offer him the spectacle of their intimacy." Presque rien n°4, la remontée du village (1990-1998): "I always hesitated before releasing Presque rien. For instance, it took two years for the first one to come out and things went on this way. The fourth one took nine years of hesitating. But here it is. Perhaps because this is a real presque rien fake where reality and lies mix. This is the ascent into the old town of Ventimiglia." -Luc Ferrari; Produced by Peter Rehberg. Layout: Stephen OMalley. Cut by Rashad Becker at Dubplates & Mastering, Berlin, October 2012.

"Recollection GRM presents two electroacoustic works by Croatian composer Ivo Malec. Triola (1978): "This piece marked my return to the studio after several years of absence, a return, which for unknown reasons, needed to be part of a rather ambitious project -- a strictly personal idea. This is how my mind slowly turned towards the design of a musical narrative meant to stand for a relearning of the trade, the temptation to use purely electronic material so as change it into something other than itself, a wide range of form(s) and, when possible, a work, if not a musical piece. The title, Triola (triplet), was chosen to emphasize these three movements, each with their own title and which, just like the three equal values of the triplet, sustain a basic unit through interference. This is quite symbolic, as is the alternative title: the symphony for myself is not only named so because I wanted to offer myself something -- which I did -- but perhaps and above all, because I had a score to settle with myself. One could even say that the piece is autobiographical. We could do it but we do not need to: that is not the question." Bizarra (1972): "In order to understand this piece, it has always been possible to follow two paths, quite different if not divergent. The first one relies on imagery whose roots I would gladly trace back to Lautréamonts deserted swamps and emanations and to which I would add boiling lands, wet forests, volcanic landscapes, and all kinds of entrails. The other path is that of the realities of a studio where, like a craftsman, the composer manipulates, stretches and releases with his fingers a (magnetic) tape, facing the ears of a (magnetic) head, trying to find the narrow door for the real sound to pass through. The rest is mere work, stewardship. How can one bring these two distant paths together? It is indeed necessary, since the second one precedes the first one, while the first one transcends the second one." -Ivo Malec; Cut by Rashad Becker at Dubplates & Mastering, Berlin, October 2012. Layout by Stephen OMalley. Produced by Peter Rehberg.

"De Natura Sonorum (1975): Premiered at the Salle Wagram in Paris on June 3rd 1975. A suite of 12 movements, divided into two series of six. The first series comprises six related movements, usually organized in pairs, electronic sounds with instrumental and more rarely, concrete sounds: Incidences/resonances bring into play controlled resonances akin to sounds of concrete origin in a process that helps to expand the variable electronic sound sources. Here, incidents are opposed to one-off accidents in the second movement: Accidents/Harmoniques (Accidents/Harmonics). In the second movement, very short events of instrumental origin change the harmonic tone of the continuum they interrupt or overlap. Moreover, the high notes are underplayed, which stimulates the attention given to other phenomena generally hidden by the melodic form applied to the instrumental play. Géologie sonore (Sound Geology) is similar to a flight over an area where different sound layers come to the surface one after the other. When seen from high above, instrumental and electronic sounds seem to fuse. Dynamique de la resonance (Dynamics of Resonance) is a microphonic exploration of a single sound resonating through different forms of percussion. LEtude élastique (Elastic Study) places together various sounds produced by touching elastic or instrumental skins (balloons, doumbeks) or vibrating strings and a number of instrumental gestures close to this touch, using electronic processes to generate white noise. Conjugaison du timbre (Conjugated Tone), the last movement in the series, uses the same substance to apply rhythmic forms onto a perpetually varying tone continuum. The second series of movements draws its inspiration from concrete and electronic sources rather than instrumental ones. Incidences/battements (Incidences/ Beatings) is a reminder of the first movement in the first series, which then quickly moves into Natures éphémères (Ephemeral Natures): an ephemeral play on instrumental and electronic sounds, singled out by their internal trajectory rather than by the material itself. Matières induites (Induced Matters): just as molecular effervescence triggers changes of state, it seems that the different states of these sound materials can be generated by each other or through induction processes. In Ondes croisées (Crossed Waves), the pizz vibrations interfere with somehow visible water drops on the surface of a similar material. Pleins et déliés (Downstrokes and Upstrokes) can be listened to as the energies absorbed in the motion of bouncing bodies, while hollow bubbles and points bring together some peoples gravity and others downwards movements. The work finishes with Points contre champs (Reverse Angle Points). Here, the notion of perspective of the different sound threads weaving a kind of network, or field, traps the occasional iterative elements in the foreground and progressively absorbs them, giving more space for the angle -- and the chanted sound -- to grow. --Bernard Parmigiani; De Natura Sonorum whose title echoes Lucretius De rerum natura, similarly explores the multiplicity of sound possibilities. This profuse work, with countless discoveries and dazzling intuitions, has influenced several generations of composers and remains a truly seminal piece in the experimental music soundscape. De Natura Sonorum, one of Parmegianis masterpieces, has left an indelible mark on the classical period of electroacoustic music. At last, it is being reissued on vinyl and for the first time this includes the whole of its 12 movements." - Christian Zanési & François Bonnet. Housed in a gatefold sleeve.

"From the very first moment, caught by the musical tone heard from inside a train, the trip offered by this piece, woven with different materials, triggers in us various climates able to give our imagination power over sounds: the power to guide them through our secret mazes rather than to blindly follow them like Panurge. This form of (auditory) contemplation thus attempts to enable us to lose ourselves outside our far too familiar and usual territories. Perhaps, in looking too hard, man eventually stops listening. And, as I said when creating the piece in 1970, the eye, now a solitary wanderer only has ears for what assaults it." Dedans-Dehors (1977): "When listening to the sound material, we metamorphose the inside into an outside. This notion of metamorphosis is one of the principles that leads the course of the musical suite, reflecting changes (fluidsolid passages: water/ice/fire) or movements (ebb/flow/wave, inspiration/expiration) or inside-outside passages (door/individual/crowd). Thus, the perceived object is not entirely what we would have liked it to be. Our music brings us closer to some while it takes us away from others: each with their own inside." --Bernard Parmegiani; Cut by Rashad Becker at Dubplates & Mastering, Berlin, June 2012.

Packaged with 3D cover art; includes Anaglyphic 3D glasses. "Pacific Tubular Waves" (1979): Electronic music for Synclavier digital synthesizer. "The first four movements frame different visions of the energy delivered by the rolling waves as a kind of auditory surfing on the crest and into the trough of the wave (movements 1-3), followed by a high speed crossing within the tubular cyclone (4). The piece ends with easing waves at dusk... In terms of the making, Pacific Tubular Waves is a purely electronic music, a solo performance on the first digital Synclavier synthesizer. The flexibility of its touch keys enabled me to intuitively program a sonic organic life quality with a concrete quality. Here the computer was used to magnify the texture and behavior of the oceanic material though never mimicking it." "Immersion" (1980): Electroacoustic music for Synclavier synthesizer and underwater recordings. "Composing Immersion started with underwater recordings using a hydrophone. After recording the shifting sands and the rolling pebbles under the breakers, I came up with the idea of dipping a sonar loudspeaker underwater to diffuse my Pacific Tubular Waves piece (made the previous year) below the surface. The music was thus shuffled by the waves and unexpected filtering effects resulted from its passing through clouds of foam. Its dispersion at sea by currents would send back incredibly smooth harmonic echoes... The recording of this natural remixing process is the guiding thread of the piece. It is interspersed with sequences composed in the studio with the Synclavier. Alternating dry/wet, for a gradual immersion through increasingly calm and dense increments... Three-dimensional Visible Images through the glasses attached hereto. Analogous to stereo, the anaglyph graphic process consists of two left and right points view of the same object... The feeling of space is expanding proportionally to the distance of observation, from 80 cm to several meters" --Michel Redolfi. A singular figure of the electroacoustic landscape, Redolfi debuted in 1980 with Pacific Tubular Waves/Immersion on INA-GRM. Recollection GRM presents the first reissue of this record. Digital transfer by Diego Losa. Cut by Rashad Becker at Dubplates & Mastering, Berlin, July 2014. Original 3D artwork and inner sleeve wave photo by Michel Redolfi. All other photos and portrait by Donna Cline. Sleeve and new Anaglyph 3D design byStephen OMalley. Anaglyphic 3D supervision by Guy Ventouillac. Coordination GRM: Christian Zanesi and François Bonnet. Executive Production: Peter Rehberg.” - Recollection GRM.

"Franges Du Signe, the third part of an electroacoustic triptych completed in 1973-1974, is the first major "purely acousmatic" work composed by Guy Reibel. Franges Du Signe explores the mathematical idea of the limit by translating it musically, searching for unstable states of equilibrium. Thus, several conflicting tendencies or logics act upon the sounds. They overlap and fight, each one seeking to assert its trace on the phenomenon in progress, generating de facto an ambiguity that is unique to all phenomena that obey the "logic of the living." Granulations-Sillages (1976) develops an idea glimpsed at in Franges Du Signe: the existence of extreme times at the edge of our faculties of perception, which only the electroacoustic music tools allow us to realize. Two natures of phenomena, opposed in all respects (the "Granulations-Trails" and the "Tutti"), alternate through seven movements that constitute the piece. The work is designed for six channels diffused in concert on a main stereo system facing the public and two auxiliary stereos (group of crossing speakers: front-back and left-right in the room). Featuring bi-lingual (French/English) texts, with translation by Valérie Vivancos. Cut by Rashad Becker at Dubplates & Mastering, Berlin, March 2012. Layout: Stephen OMalley. Executive Production: Peter Rehberg." -Recollection GRM.

"Recollection GRM presents computer works from French composer Jean-Claude Risset. "Sud" (1985): This work was commissioned by the French Ministry of Culture, from a project initiated by the GRM, where it was produced circa 1984-1985. The piece mainly uses sounds recorded in the Massif des Calanques, south of Marseille, as well as sounds synthesized via a computer (again in Marseille). These sounds were then treated via another computer at the GRM. The natural and synthetic sounds are first presented separately. Along the piece, they increasingly merge, through mixing and processing. Thus real bird songs, as well as synthetic bird-like or insect-like sounds, have been spatialized. In the third movement, the filtering of birds caws first appears as a colored echo, later as a genuine birds "raga" using the defective scale. The origin of the many sounds deduced from the germinal material can be ascribed to a "family tree" displaying the sonic proliferation and resembling a rhizome. (J-C. R.) "Mutations" (1977): Piece for a two-track tape, computer-synthesized in 1968 at the Bell Laboratories. Commissioned by the GRM and premiered at the Moderna Museet in Stockholm in 1970. This work attempts to explore (particularly within the harmonic order) some of the possibilities offered by the computer to compose at the very level of sound -- to compose sound itself, so to speak. The title refers to the gradual changes that occur throughout the piece, including the shift from a range of discontinuous heights to continuous frequency variations. (J-C. R.) "Computer Suite from Little Boy" (1968): This piece, composed in 1968, is one of the first significant works entirely produced via a computer: all sounds were synthesized using the MUSIC V program. The piece features several experiments on Sounds Synthesis I produced between 1964 and 1968, while working with Max Mathews at the Bell Laboratories. (J-C. R.) Cut by Rashad Becker at Dubplates & Mastering, Berlin, November 2013." - Recollection GRM.

"Recollection GRM is one more label within the Editions Mego family of labels. Its aim is to make available on vinyl the vast archives of Groupe De Recherches Musicales (GRM). Being released in batches of two every three months, it will present both known and lesser-known works. All releases will be re-cut at Dubplates & Mastering and packaged in new artwork by Stephen OMalley, featuring bi-lingual (French/English) texts. Some of these pioneering works have been out-of-print in this format for over 30 years, and would be a valuable addition to any serious collection of electronic music. It is worth pointing out that this series is neither a re-run of the original Collection INA-GRM series or the Phillips Prospective 21e Siècle series, but something new altogether. This is Pierre Schaeffers Le Trièdre Fertile, full version 1975-1976, with the participation of Bernard Dürr. This trihedron, Schaeffers last piece, echoes the physicists "reference trihedron," linked to the three fundamental measurements of sound: frequency, duration and intensity. The basic signs of traditional sol-fa that enable the transcribing of pitches, rhythms and nuances also correspond to these three measurements. However, it is precisely outside or beyond these parameters that, all through his life, Schaeffer researched music. Hence, qualifying this trihedron as "fertile" is the confession "of a late repentance." On the other hand, and against all odds, this piece was only composed from synthetic sounds, developed by Bernard Dürr. It is Pierre Schaeffers only purely electronic music work. Here, the synthesizer is rather monitored by sensitivity than by computation principles, thus letting uncanny structures emerge. Cut by Rashad Becker at Dubplates & Mastering, Berlin, March 2012. Layout: Stephen OMalley." -Recollection GRM.

“Erda (1972): "This piece illustrates my early research carried out in a professional composition studio. After studying every available tools and creating variably hybrid connections between them, I chose to compose several short sequences, each being the expression of a research based on a sonic manipulation and exploring a well defined sound hue. Besides, my background as a percussionist and a jazzman encouraged me to conduct a rhythmical study in each of these sequences. . . . The slightly raucous and acid texture of the “square” sounds, that can be heard in several movements, is a reminder of saxophone and muted brass sonorities, as used in contemporary jazz." The seven movements include "an evocation of the realm of insects," "stereotypical bird songs produced by the generators of the studio 54," "a tribute to the Goddess of Wisdom and the Earth in Wagners Das Rheingold and Siegfried," "rhythmical drumming figures such as those Kenny Clarke (aka Klook) used to teach me," and "a tribute to John Coltrane," among others.
Suite N (1982): "Commissioned by the Direction de la Musique and the Ina GRM. Composed in the Ina GRMs numerical composition studio with the assistance of Benedict Maillard and Yann Geslin. In a composition studio, musical research is never very far removed from madness. The first step is the initial work on the sound picked up by the microphone and the varieties of delirium that result from it: exaggerated amplification, inversion, transformation. Synthesizers and their crazy possibilities com next. The third step is the computer, one of the purest products of logic. . . . My intention in “Suite N” was, on the one hand, to use solely sounds produced by the computer either by direct synthesis (MUSIC V) or by sound treatment, and, on the other hand, to work with a definite form." - Recollection GRM.
"Jean Schwarz is an idiosyncratic figure in the world of electroacoustic music. With a dual background in jazz and ethnomusicology, he has crossed times and genres with an unwavering singularity, infusing improvisation, ballets or cinema with the art of acousmatics. “Erda” or “Suite N,” each in their own way, demonstrate Schwarzs unique propensity for exploring sound, its cross-fertilisations and its evocative power." - François Bonnet, Paris, 2015.

"Beatriz Ferreyras "L Orvietan" (1970) is a work composed of two separate movements, the first drawing from electronic sounds, the second from concrète ones. These two sources do not meet, but tend equally towards sound antagonism and a complementarity of spirit. Philippe Carson Turmacs (1961) was created from machine-sounds from the Stuyvesant factories (Holland). Three movements follow one another: first, the spell of rhythms and a build-up that gradually removes the listener from mechanical reality. A more animated movement follows, full of contrasts. The third part is a long crescendo in terms of intensity, density and thickness, which results in a paroxysm. "The noise environment of the workplace is thus transposed, ennobled and magnified." (J. Roy, 1961). Edgardo Cantons "I palpiti" (1966) is described by the artist as follows: "For some time I thought that Gaetano Donizetti had written an aria called "I palpiti," but apparently this is not the case. Nevermind. This piece acquired an evocative value linked to the pleasure the music of this composer gives me. Just like the fervent prima donna donizetian choirs, anything that lives, also pulses, shivers and quivers. These are the qualities of life I have tried to convey here." "Chemins davant la mort" (1968) is one of the few works created by Francis Régnier at the GRM, where he was technical coordinator. It is a short piece, composed as a gesture, a dramatic sound blast stretched between two sound lines rising from and returning to silence. Mireille Chamass-Kyrous "Etude 1" (1960) consists of three sequences, the first two each develop a single sound object. The one that generates the first sequence is characterized by an asymmetrical crescendo-decrescendo and a material whose grain constantly fluctuates. The second sequence multiplies a sound object reduced to its attack in tiny elements divided into three zones that differentiate the overall density and size of the elements: Giant molecules, more defined constellations and fine dust sound. They gradually condense in the third sequence as a kaleidoscopic stretto. Cut by Rashad Becker at Dubplates & Mastering, Berlin, June 2012." - Recollection GRM.

"Recollection GRM, a label within the Editions Mego family of labels, offers a third selection from the vast archives of Groupe De Recherches Musicales (GRM). The main idea behind the Traces series is to excavate short, forgotten or ignored pieces of music from the GRM Archives. This third volume, gathering pieces from before 1980, features the works of four composers from very different geographical and musical backgrounds. In addition to echoing the extraordinary vitality of musical experiments from a bygone era, Traces aims to give some audibility to music pieces which, in some instances, are being released for the very first time.
Charles Clapaud, "Ruptures" (1978): "The idea of the break (rupture) as a disruptive phenomenon should be integrated into discourses and perceived musically: to break the silence, a matter, shapes, plans... in this musical piece, two main parts can clearly be identified: in the first part, the chaotic activity of the sound material (crumbled, fragmented, discontinuous forms) blossoms into a static burst. A sustained deep tone settles within a sort of Cadence and highlights a solo sequence of discontinuous sound lines. The entire sound spectrum then erupts, abruptly interrupted by three loud blasts. In the second part, the fragmented form unfolds as a whole initial sequence, followed by a second one where other forms overlap in a kind of sound collage that induces emergent phenomena. The piece ends as a sharp break." --C.C.
Janez Matičič , "Hypnos" (extrait de Trois Visions) (1975): "This non-progressive piece is composed of several sequences, each introducing an additional element and ending with a twist. A quiet swaying from one framework to the next constantly defines the sound quality of the piece, just like blurry visions tantalize the dreamer one after another." --J.M.
Servio Tulio Marin, "Impresiones Fugitivas" (1976): "This piece is based on the process of sound as a solid material. The shape and height of a concrete, granular texture (very similar to white noise) is being transformed. While still unfolding, this process is being interrupted at several stages by various interfering elements with opposite natures. This gives rise to a complex dialogue between distinct materials, like a counterpoint expressed through sound spatialization." --S.T.M.
Eugeniusz Rudnik, "Moulin Diabolique" (1979): "The work consists of six sequences which all possess a dramatic, musical and architectonic sense independent from the context. Their position in the composition as a whole -- apart from sequences 2 and 6 -- is not derived from any absolute necessity. The basic material of this work consists of military orders given in different languages and of the sounds (voices) of a human group (soldiers). These -- assuming the order implies a constraint -- can either be the single answer to such a constraint or they can accompany it. Through editing, the sense of military discipline was removed from the ordering sentences, thus enhancing the grotesque and terrible content of the order itself. [ ... ] The possibility of identifying the sound sources (speech = order with its semantic, semiotic and associated values), the formal structure of the composition is to remind the listener of the constant presence by his side of the Evil Mill (Moulin Diabolique) of war. A mill that has been turning on and on for thousands of years -- and for how much longer? I dedicated this work to my daughter Kamila Maria." -E.R.

"Recollection GRM, a label within the Editions Mego family of labels, offers a second selection from the vast archives of Groupe De Recherches Musicales (GRM). "The idea of the Traces series is to unearth from the GRM Archives short, forgotten, or ignored pieces of music. This second volume, which gathers works prior to 1976, features the early works of four composers who each went on to leave a unique trail of music. In addition to reflecting the extraordinary vitality of the musical experimentation of bygone times, Traces aims to reactivate the audibility of such pieces, some of which have never been released before." --Christian Zanési & François Bonnet; Dominique Guiot, "Loiseau de paradis" (1974): "The composition of this piece was inspired by the rules of cinematic screenwriting. Indeed, the possibilities of an electro-acoustic music studio are very similar to those found in the audiovisual field (particularly editing). Based on this similarity, I thought it would be interesting to compose a series of scenes, dramatic atmospheres, and suddenly interrupted soundscapes." Pierre Boeswillwald, "Nuisances" (1971): Starting from microphone recordings of numerous sounds, the author chose not to systematically use the "best ones." Therefore, this construction always tried to refine itself while constantly being polluted by interferences which are nuisances. As in nature, man seeks to refine his environment but destroys it through his mistakes. Rodolfo Caesar, "Les deux saisons" (1975-1976): "This piece results from instrumental improvisations: the first one with the Baschet brothers glass organ, the second one with a frequency modulation device assembled by Bernard Dürr, who co-created the Trièdre Fertile (Fertile Triad) with Pierre Schaeffer. These were two input channels for a kind of anecdotism I was interested in." Denis Smalley, "Pentes" (1974): The main features of the piece evokes vast landscapes, with their ascents and descents, hence the title, Pentes (both French and Latin, meaning slopes, inclines, ascents). Most of the music was created by transforming instrumental sounds, but there are also synthesized sounds. However, the only recognizable sound source is the Northumbrian Pipes, whose drone is responsible for the slowly-evolving harmonies out of which its haunting traditional melody appears." - Recollection GRM.

"The Institute of Sonology in Utrecht has earned its international reputation mostly for pioneering work in the field of computer-assisted algorithmic composition and digital sound synthesis by composers such as Gottfried Michael Koenig, Werner Kaegi, Paul Berg, and Barry Truax. Anyone familiar with the music of these composers would have to admit that even within this genre there were no stylistic dogmas. The stylistic range of the Institutes artistic output becomes even broader when the work of other staff and frequent guests is taken into account, for example the compositions based on field recordings and audio-visual projects by Frits Weiland, the radiophonic works and pieces for tape and instruments by Luctor Ponse, the cybernetic tape compositions by Roland Kayn, or the experiments with computer graphics by Peter Struycken, to name just a few. And then there was Jaap Vink. Jaap Vink studied engineering at first, but then became interested in electronic music. He attended courses in electroacoustics at Delft University of Technology and installed a pedagogical studio for electronic music in 1961 at the Gaudeamus Foundation . . . Jaap Vink always tried to break out of the periodicity of the sounds so abundantly available in the electronic music studio. Although his music was entirely produced with purely electronic sound material, its textures resemble the richness of orchestral sounds, or large natural sound-complexes, as a result of recursive processes. The density of this sound material increases and decreases by careful control of feedback networks with configurations of analog tape recorders (delay lines), filters, and modulators. It should come as no surprise that his work is being rediscovered at a time when a new generation of musicians has conquered the stage with modular synthesizer setups and no-input mixers, in which feedback of audio and control signals plays an important role. And although Jaap Vinks music wasnt performed live but produced and recorded on magnetic tape in the studio, it is exactly the human interaction with feedback processes that connects his work with the current generation of live electronic music performers. To some extent Jaap Vinks pieces are indeed recorded live improvisations, and extending his patches and rehearsing with them was an ongoing process. . . . The selection presented here gives an overview of Jaap Vinks works made in Utrecht, ranging from his first composition Screen up to Tide 85." - Kees Tazelaar. Works selected by: François Bonnet and Kees Tazelaar.

2016 repress, originally released in 2013. "Recollection GRM assembles Greek experimental composer Iannis Xenakis works for Groupe de Recherches Musicales circa 1957-1962. "Concret PH" (1958) was assembled for the Brussels World Fair. The industrialist Philips commissioned Le Corbusiers famous "Philips Pavilion": "Ill create an electronic poem for you, he said. Everything will happen inside: sound, light, color, and rhythm." Iannis Xenakis designed the architectural blueprint and composed "Concret PH" meant to psychologically prepare the public for the show created inside, accompanied by a musical piece by Edgard Varèse. The 400 speakers that lined the inner shell were meant to fill the space through the sound sparkles of "Concret PH" and achieve a joint emanation of architecture and music, conceived as a whole: the roughness of the concrete and its internal friction coefficient found an echo in the timbre of the sparkles. "Orient-Occident" (1960) was originally composed for a film by Enrico Fulchignoni for UNESCO. The film describes a visit to the museum comparing artifacts produced by various cultures and highlighting their interaction, dating back to ancient times. From an abstract point of view, the composer regards this work as a solution to the problem of finding highly diversified means of transition, meant to link a type of material to another. One indeed witnesses a varied gradation of mutations, interplays, overlaps, cross-fading, sudden shifts, and hidden junction points. "Diamorphoses" (1957-1958) portrays continuity and discontinuity within evolution. Here are two aspects of being, whether in opposition or in communion. In "Diamorphoses" this antithesis was illustrated sections of sound strongly opposed to others, and particularly in organizations of continuous variations of average or "statistical" heights. "Bohor" (1962): Bohor (referring to Bors the Younger, Lancelots cousin), is a character from the medieval cycle of King Arthur and the Knights of the Round Table. "Bohor" is dedicated to Pierre Schaeffer. The author deliberately abstained from giving any descriptive information on his piece, letting the listener choose an imaginary route for himself. This release presents the 1968 version, revised by Iannis Xenakis himself and as yet not made available to the public. "Even though Iannis Xenakis never made musique concrète in the sense given by Pierre Schaeffer, the GRM was a locus for experimenting with his ideas about sound and sound structures. These works, composed between 1958 and 1962, show a boldness as advanced as in his orchestral approach. The relationship between Xenakis and Schaeffer was often tense. It nevertheless entailed mutual recognition and respect towards each others musical approach. Schaeffer found the piece disproportionate in terms of intensity but was indeed pleased by the dedication. The four pieces presented here, all produced at the GRM, undoubtedly demonstrate the experimental intent and the strictly physical character of Xenakis music, in that it provides the audience with a listening experience of a rare intensity." --François Bonnet & Christian Zanési; Cut by Rashad Becker at Dubplates & Mastering, Berlin, January 2013. Layout by Stephen OMalley. Executive Production by Peter Rehberg." - Recollection GRM.